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Booth after booth, Shapes after shapes. Big pictures of big shapes, big pictures of little shapes, little pictures of fields of shapes. From booth to booth there was little distinction. It dominates LA's most important contemporary art fair. Talk has included icky anecdote about Black artists receiving preferential treatment. And yet no other art fair in Los Angeles besides ALAC has been as rigorous in its selection process and lasted five years. But Hickey's pastoral vision of an underground art world is now the mainstream. Eric Minh Swenson Art L.

If anything, the art here might suffer from looking too much the same. A booth with yet more formal art at ALAC. But the art in each booth would be almost the same. This is the charge of every art fair but many art fairs include a wide variety of art styles under one roof. Sure, one gallery would try to be sloppy and punk with paintings leaning against the wall under other paintings while the booth next to it might be minimal and sleek with lots of space around each artwork. ALAC went to great effort to bring in galleries from around the country and Europe without expanding the size of the fair. Scheduling the fair on Superbowl Sunday only ensures less of the general public to rub elbows with the elite art buyers in Southern California. Cuz clearly Black people rule the art world — Carolina A. The only identity politics that Hickey warns us of seemed to be in lots of art that was black and white. ALAC returns to the Barker Hangar for its fifth edition, featuring an expanded international roster and a continued dedication to the L. Wherever art is going, the narrow range of dry formalist international style work that flooded this fair is sure to follow. Tap here to turn on desktop notifications to get the news sent straight to you. But Hickey's pastoral vision of an underground art world is now the mainstream. It dominates LA's most important contemporary art fair. Miranda cmonstah January 30, I was at the ALAC fair from its opening and it was almost an hour of a packed room before I spotted a non-white person. The homogenous nature of the art and the attendees at ALAC did not reflect Dave Hickey's paranoid rantings about identity politics ruining the once glorious underground art world. Denuded of any extraneous visual clutter, shapes dominated the fair. The mentality is "Hey, its contemporary so it must belong" ignores that good art next to bad art goes as well as good food next to rotten food. Laura Beatty The art itself seemed eerily interchangeable from gallery to gallery. In a fair that had haphazard selections of participants this would have been an outrage, but in this vetted fair with a narrow range of contemporary art by established if not leading galleries it only seemed to underscore that this was a fair for collectors to buy art and not to party all night long. And yet no other art fair in Los Angeles besides ALAC has been as rigorous in its selection process and lasted five years. Talk has included icky anecdote about Black artists receiving preferential treatment. Of course, it also coincides with Superbowl Sunday, but once again, it is a fair built for art collectors. The past Hickey and the present Bradford could talk about the future - a future that every L. While this creates a certain homogenous nature to the fair, ALAC's job is not to promote diversity in contemporary art as much as it is to connect collectors with galleries. This international infusion was not lost in translation, though, as the ambiguous style of the ArtForum back pages is the new international style and was practically enforced by law.

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